Mr. Who

I really hope that film reunites Nolan and Zimmer again, though I’m very sceptical. It will probably be Göransson again.

A great lengthy interview just posted on YouTube:
 
 

Well, I will try to make the breakdown.
 
First off all, we have motifs with melodies of original songs, that Powell uses in the score. He is credited as composer in:
 
Real in Rio, that seems to represent liberty and the desire of having said liberty, or simply the idea of flying, plus kinda is used as a love theme for Blu and Jewel in some situations.. (Rio Airport, 0:45 to 0:53)
 
 
And Pretty Bird, Nigel´s Theme (Bagged and missing, 0:26 to 0:37)
 
 
 
 
Then, we have two songs that Powell didn´t composed, but that he quotes in the score two or three times each:
 
Fly Love, that is used kinda as another love theme: Heimlich(0:23 to 0:48)
 
And Funky Monkey (Signal, whole track):
 
 
Now, about Powell´s themes that are only in the score:
 
Blu and Linda theme, used to represent both, and their bond. (all of Morning Routine, exclunding the first 20 seconds):
 
Tulio´s theme, in the beginning of Great Big Momma Bird to 0:13 minute mark(not the official version, the one in the complete recording sessions): 
 
 
We also have a slapstick action theme clearly inspired by Tico Tico no fubá by Carmen Miranda, Powell uses it in chases, chaotic comedy scenes and one a bit serious action scene. (umbrellas of Rio, 2:00 onwards)
 
Toucans theme(Juicy little mango, 1:54-2:02)
 
And there´s another love theme for some reason, it plays with Jade and Blu early in the movie and for Rafael and his wife. (1:36 of Juicy little mango)
 
And then there´s two Gang themes, i think, or it´s a ABC phases situation.
 
This one for all the gang(bagged and missing, start to 0:15, and 0:48 to 0:55)
 
And this that seems like the main one for the humans of the gang.(idiots, start to 0:47)
 
 
and that´s what i got.
 
 
 
 

Saw two fantastic concerts over the last two evenings, both at the Brucknerhaus in Linz, usually just a 75 minute train ride from Vienna, but after the recent flood disaster in Lower Austria, the railway tracks are damaged for several months, and the whole thing turned into a multi-hour complication with many delays. Still, all worth it, because I got to hear brilliant performances of two of my favourite rarely played works.
 

 
First up on Thursday was Anima Eterna Brugge, the original version of Bruckner's 3rd, with a side order of Wagner (very fine Wesendonck-Lieder). This was part of the Brucknerhaus's anniversary cycle of the original versions of all 11 Bruckner symphonies in historically informed interpretations - which mostly means the instruments, I suppose (edit: and of course a lack of vibrato for the strings), and what a difference it makes! Living in Vienna (where the Wiener Horn played by the major orchestras is still just an updated version of the same instrument that was in use in Bruckner's time, and several other instruments similarly mostly retained in their 19th century versions), I suppose an everyday Bruckner performance I get to hear is already semi-historically informed compared to most international orchestras - but this was something else. What a fantastic transparency to the sound of the massive orchestra (the hall sounds really good, too!), and the bigger contrast between different instruments from the same groups only helps to emphasise Bruckner's blocky orchestrations. Excellent interpretation by Pablo Heras-Casado as well - he's already recorded the 4th with the same orchestra (supposedly excellent - I ordered the CD on my train ride home), with more planned. I much prefer the original version of the 3rd to Bruckner's own later version, which is still the one usually performed - this was only the second time I've heard the original version live (first was by Nagano some 15 years ago), and probably one of the best Bruckner concerts I've been to.
 

 
And then on Friday something I've been waiting for for 8 years: Hans Rott's symphony, which I've been gushing about here before (and will never stop doing), paired with Brahm's 2nd piano concerto, in a powerhouse performance by the Bruckner Orchester Linz under its chief conductor Markus Poschner. I've been blown away by this symphony from the first time I've heard it (and without fault every single time I've listened to it), and finally getting to hear it live was an experience on a similar level as a Williams concert. This work should be performed regularly in every major concert hall across the world, and yet it is still a mostly unknown rarity - as Poschner mentioned in a pre-concert talk with the Brucknerhaus's head of programme planning*, he expected that nobody in the audience would have heard it before (not quite correct, at least in the case of me and three of a group of friends I took along, but this being a subscription concert, chances are it was indeed new to the vast majority of the audience).
 
I keep being astounded by this work. As they mentioned in the talk, and as I remember myself from the first time I encountered it, everyone listening to it for the first time will initially be inclined to classify it as a major Mahler ripoff - until they learn that Rott wrote it from 1878 to 1880, almost a decade before Mahler composed his first symphony (and, who was a friend and colleague of Rott, would go on to take ideas from it for years). But because Rott was disliked and hindered me much of Vienna's music establishment (famously Brahms), and had a mental breakdown soon after finishing the symphony, leading to him being committed to a mental hospital, where he would die less than 4 years later without having composed another major work, the symphony was forgotten (except by Mahler Wolf) and wasn't performed until 1989 - more than 100 years after its conception. Imagine what it must have sounded like to a contemporary audience, who had not yet heard a single symphonic note by Mahler!
 
And even knowing Mahler, it's still and utterly astounding work. Where late Beethoven, Bruckner, Mahler, and their successors would frequently push the symphony form to 11, Rott doesn't stop there - he takes things to 12, again and again. Impossible to think what more he could have accomplished after this work, written when he was just 20! Maybe there's a connection between his mental illness and him pouring everything into this towering, visionary symphony, and had he been more mentally stable, he couldn't have gotten there at 20. But even if he had only reached the same point at 50 and then continued for another 20 or 30 years…
 
Hearing it live also shows the demands the work places on an the performers. Owing to his age, Rott couldn't have yet been so experienced to write perfectly refined orchestrations for such a massive work, and of course he never got a chance to hear it live and make corrections later on. There are fffffs and ppppps in the score that Poschner figures may be impossible to perform, and in some cases they had to make slight modifications simply to survive. Nevertheless, the result was a brilliant performance, rewarded with thunderous applause; it was recorded for a radio broadcast in October, so I guess there's a chance this may be released on CD at some point in the future. I hope it does - I'd buy it and add it to my other three recordings of the work.
 

 
*) …and since the head of programme planning happens to be our choir director, we got a nice tour of the house before the concert as a bonus.

I’ve seen this movie in the cinema and it was horribly bad, as was the score. Don’t waste your time with this haha! It’s forgotten fir a reason.

https://youtube.com/playlist?list=PLl3EOgDGz0DNjr7_l6Nnqi7PPkhPfULmZ&si=wnDJMfR8uuuYNfw6
 
The playlist above is from a channel i discovered these days, it not only has suites of scores from Powell, but also scenes from movies he worked on without any sound other than the OST. The owner made videos like this for Migration, Rio, and is currently doing videos like this for Bolt, it makes it much more easy to understand the themes, so i think that you will like it.
 

I managed to pick it up just in time. It's ridiculous these things aren't in print more regularly. Instead of, you know... STar Trek...

New Desplat score album coming tomorrow for the movie "The Piano Lesson"
 

 
01 - The Piano Lesson (03:53)
02 - The Truck (02:53)
03 - Selling Watermelons (02:27)
04 - Pittsburgh (01:51)
05 - Berniece Story (02:29)
06 - The Plantation (05:30)
07 - Avery's Blessing (03:24)
08 - Boy Willie (03:56)
09 - Piano Reverie (06:15)
10 - The Piano Story (01:41)
11 - Black and White Keys (01:59)
12 - Ghost (02:55)
13 - Help Me (07:37)
14 - Lymon Flirts (01:54)
15 - Ancestors (02:32)
16 - Fight Over Piano (03:43)
 
https://www.qobuz.com/nz-en/album/the-piano-lesson-soundtrack-from-the-netflix-film-alexandre-desplat/a1uhxvkmmg4rc

Yeah Dead Reckoning sounds really good and was clearly a title that referred to the overarching story. The Final Reckoning sounds a bit like a tagline to me so if they had to change it they should probably have gone with Mission: Impossible - Final Reckoning at least IMO.
 
But the trailer looks great and I can't wait to see it! Loved MI7 so hope they didn't do any course correct after too few people saw MI7 as I want the original vision for the final move to be what is released.

Yeah Dead Reckoning sounds really good and was clearly a title that referred to the overarching story. The Final Reckoning sounds a bit like a tagline to me so if they had to change it they should probably have gone with Mission: Impossible - Final Reckoning at least IMO.
 
But the trailer looks great and I can't wait to see it! Loved MI7 so hope they didn't do any course correct after too few people saw MI7 as I want the original vision for the final move to be what is released.

Yeah they had a great movie but wasted it's potential by sticking to that dumb release date. It's a real shame because the movie was great.

They couldn't have predicted how big Barbenheimer would be, but they surely knew they were opening their mega-budget IMAX-dependent blockbuster one week before a new Christopher Nolan movie. So not only the Barbenheimer phenomenon stole all their thunder but also Nolan (who has a symbiotic relationship with IMAX) stole their IMAX screens.
 
Meanwhile, movie theaters withered in the borderline empty months of September, October, etc., without a single blockbuster. Postponing M: I 7 to these months would've been beneficial to both Paramount and the theaters. But they stuck with their guns and DR1 was utterly forgotten once Barbenheimer was released.

Yeah Dead Reckoning sounds really good and was clearly a title that referred to the overarching story. The Final Reckoning sounds a bit like a tagline to me so if they had to change it they should probably have gone with Mission: Impossible - Final Reckoning at least IMO.
 
But the trailer looks great and I can't wait to see it! Loved MI7 so hope they didn't do any course correct after too few people saw MI7 as I want the original vision for the final move to be what is released.

Yeah Dead Reckoning sounds really good and was clearly a title that referred to the overarching story. The Final Reckoning sounds a bit like a tagline to me so if they had to change it they should probably have gone with Mission: Impossible - Final Reckoning at least IMO.
 
But the trailer looks great and I can't wait to see it! Loved MI7 so hope they didn't do any course correct after too few people saw MI7 as I want the original vision for the final move to be what is released.

I really hope that film reunites Nolan and Zimmer again, though I’m very sceptical. It will probably be Göransson again.

I agree on the feeling that Part Two is an improvement over the first one. It builds upon the foundations of that one, but in my opinion with better highlights, and a really strong main identity (the love theme) plus the rest of themes from the previous entry being developed in interesting ways.
 
And Kiss the Ring is one of the best cues of the year!
 

Been listening to this score quite a lot over the past few days. Really strong thematic content, and it's a great throwback to Silvestri's work from the 80's and 90's. This is the type of film music I love, melodic, expansive and emotional and it's my favorite Silvestri score probably since Ready Player One. It should earn him a nomination, but since the movie is not doing really well with critics it will probably get sidelined. 

This is a really strong score that is full of beautiful orchestration and melodies. It reminds in some ways of some of his earlier work and also in some ways invokes Desplat. The woodwind writing is a real standout.
 
We're in for a lot of exiting Silvestri scores in the coming years with the Electric State and Avengers 5 & 6!

This is a really strong score that is full of beautiful orchestration and melodies. It reminds in some ways of some of his earlier work and also in some ways invokes Desplat. The woodwind writing is a real standout.
 
We're in for a lot of exiting Silvestri scores in the coming years with the Electric State and Avengers 5 & 6!

MV has already hint on more Bond in the coming months on Facebook 

Amazing! This was high on my list of expansion wishes! 

THE GODFATHER PART II: 50th ANNIVERSARY REMASTERED & EXPANDED LIMITED EDITION (2-CD SET) LLLCD 1652
Music by Nino Rota
Limited Edition of 5000 Units
RETAIL PRICE: $31.98
STARTS SHIPPING NOV 12
Order yours NOW at www.lalalandrecords.com
 
La-La Land Records, Paramount Pictures and Geffen Records proudly present a remastered and expanded Limited Edition 2-CD release of acclaimed composer Nino Rota’s (8 1/2, LA DOLCE VITA, THE GODFATHER) Oscar-winning original motion picture score to the 1974 masterpiece THE GODFATHER PART II starring Al Pacino, Robert Duvall, Diane Keaton and Robert DeNiro, and directed by Francis Ford Coppola.
 
This deluxe release of Nino Rota’s brilliant score marks the 50th Anniversary of the classic second film in THE GODFATHER saga - arguably the greatest sequel of all time - and its iconic music, both of which have cemented themselves into our culture for eternity. Beyond the composer’s artful reprisals and interpretations of first film’s legendary waltz and love themes, the music of PART II soars further with Rota’s emotional new themes and explorations that enrich the film’s epic nature. And the Academy took note - among the film’s eleven Oscars, including Best Picture, the composer won for Best Original Score.
 
Produced by Dan Goldwasser and Neil S. Bulk, mixed by Chris Malone from original multi-track material, and mastered by Doug Schwartz, this special 2-CD release, limited to 5000 units, includes previously unreleased and unused music and has been approved by Francis Ford Coppola and American Zoetrope. Disc One showcases the film’s expanded score presentation along with Nino Rota source music and additional material, while Disc Two presents the remastered Original Soundtrack Album and also source cues, showcasing music by Carmine Coppola, as well as a rare Nino Rota demo recording! The exclusive, in-depth liner notes are by writer Tim Greiving and the sharp art design is by Dan Goldwasser.
 
TRACK LISTING:
DISC 1
SCORE PRESENTATION
1. Main Title / The Immigrant (FILM VERSION) 2:02
2. Anthony’s First Communion 1:03
3. After The Party (EXPANDED)* 1:17
4. Finding The Man** 0:59
5. The Search Continues / Found* 1:38
6. Michael And Anthony 2:31
7. Vito And Abbandando 2:39
8. A New Carpet (FILM VERSION) 1:31
9. A Visit To Roth 1:45
10. Kay (FILM VERSION) 1:11
11. The Little Plane 0:22
12. The Godfathers At Home 2:35
13. Fredo Brings The Bread* / Ola’s Death / Roth Is Next* / Busetta’s Death* 3:33
14. Fredo’s Panic 1:30
15. Ninna-Nanna A Michele 1:04 (feat. Nino Palermo)
16. Intermezzo* 2:48
17. The Corleone Estate 0:27
18. Michael Comes Home 2:06
19. Fredo’s Stay Of Execution 1:13
20. Michael And His Mother 1:28
21. The Landlord / We’re In Business 1:08
22. Remember Vito Andolini (FILM VERSION) 4:38
23. The Brothers Mourn** 3:21
24. Reflections On Romans / Death Of Three 4:29
25. New England* 0:35
26. End Titles 3:56
TOTAL SCORE TIME 52:30
 
NINO ROTA SOURCE CUES
27. I’ve Got A Girl In Reno* 2:37
28. Havana 2:34
29. Calles De Havana* 0:56
30. Intermezzo Pt. II* 0:50
31. Clar-I-Notes* 2:58
32. The Forties 4:42
33. The Forties (ALTERNATE) 1:41
TOTAL NINO ROTA SOURCE CUES TIME 16:26
 
ADDITIONAL MATERIAL
34. The Search Continues (WILD TAKE) 0:30
35. The Little Plane (ALTERNATE) 0:23
36. Ninna-Nanna A Michele (ORCHESTRA ONLY EXCERPT) 0:24
37. Ninna-Nanna A Michele (ALTERNATE ENDING) 1:14 (feat. Nino Palermo)
38. The Godfather Epilogue 1:49
TOTAL ADDITIONAL MATERIAL TIME 4:27

TOTAL DISC TIME 1:13:31
 
DISC 2
ORIGINAL SOUNDTRACK ALBUM
1. Main Title / The Immigrant 3:28
2. A New Carpet 1:59
3. Kay 2:58
4. Ev’ry Time I Look In Your Eyes / After The Party 2:35
5. Vito And Abbandando 2:39
6. Senza Mama (feat. Livio Giorgi) / Ciuri-Ciuri / Napule Ve Salute 2:36
7. The Godfathers At Home 2:35
8. Remember Vito Andolini 2:54
9. Michael Comes Home 2:22
10. Marcia Stilo Italiano 2:02
11. Ninna-Nanna A Michele (feat. Nino Palermo) 2:21
12. The Brothers Mourn 3:21
13. Murder Of Don Fanucci 2:51
14. End Title 3:56
TOTAL ORIGINAL SOUNDTRACK ALBUM TIME 39:00
 
SOURCE CUES
15. The Fiddler 0:14
16. Italian Eyes (EXCERPT) 0:14
17. Napule Ve Salute (Lassanno Napule) (EXTENDED) 1:31
18. Senza Mama (EXTENDED) (feat. Livio Giorgi) 2:41
19. My Tropical Love (CONSISTING OF “LA PALOMA”) 3:12
20. Marcha Reale Italiana 0:22
21. The Star-Spangled Banner 0:19
22. Marcia Religioso (EXTENDED) 3:51
23. Marcia Sinfonica* 0:51
24. Celeste Aida 1:05
25. Godfather’s Calypso* 2:36
26. Nino Rota Demo Tape 7:18
TOTAL SOURCE CUES TIME 24:34

TOTAL DISC TIME 1:03:40

TOTAL COLLECTION TIME 2:17:11
 
*NOT USED IN FILM
**CONTAINS MATERIAL NOT USED IN FILM
 
This is a CD format release
 
https://lalalandrecords.com/the-godfather-part-ii-50th-anniversary-remastered-expanded-limited-edition-2-cd-set/
 

This is a really strong score that is full of beautiful orchestration and melodies. It reminds in some ways of some of his earlier work and also in some ways invokes Desplat. The woodwind writing is a real standout.
 
We're in for a lot of exiting Silvestri scores in the coming years with the Electric State and Avengers 5 & 6!

Most of these elder composers’ careers live and falter at the hands of one collaborator now, so it’s nice to see Silvestri has two.